COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000174
image_record_id
aahi0000174
Image Record ID
false
Work Title (display):
Fanny/Fingerpainting
Image Title:
full view
Work Dates (display):
1985
Work Dates type:
creation
Work Creator (display):
Chuck Close (American, born 1940)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter and printmaker. He studied (196065) at the University of Washington, Seattle, at Yale University and at the Akademie der Bildenden Künste in Vienna. During this period he painted biomorphic abstract works, influenced by the avant-garde American art of the previous two decades. After a brief experiment with figurative constructions, he began copying black-and-white photographs of a female nude in colour on to canvas. After abandoning this approach he used a black-and-white palette, which resulted in the 6.7 m long Big Nude (19678; artist's col., see Lyons and Storr, p. 14). Finding this subject too 'interesting', he turned to neutral, black-and-white head-and-shoulder photographs as models, which he again reproduced in large scale on canvas, as in Self-portrait (1968; Minneapolis, MN, Walker A. Cent.). He incorporated every detail of the photograph and allowed himself no interpretative freedom. Working from photographs enabled him to realize the variations in focus due to changing depth of field, something impossible when working from life. He continued in the black-and-white style until 1970, when he began to use colour again. With a similarly limited range of model photographs, he experimented with various types of colour marking. The pencil and ink Robert/104,072 (19734; New York, MOMA), for example, is made from 104,072 separate colour squares. Other techniques included the use of fingerprint marks and pulp paper fragments. This concern with modes of representation links him to conceptual art as well as, more obviously, to Photorealism. For the colour paintings such as Linda (19756; Akron, OH, A. Mus.) he used acrylic, ink and watercolour among other media, and built the works up using only cyan, magenta and yellow, thus imitating mechanical reproduction techniques. Close also made occasional prints, such as the mezzotint Keith/Mezzotint (1972; see Lyons and Storr, p. 162). In the 1980s he worked with handmade papers and also produced images pieced together from huge polaroid photographs, such as Bertrand II (1984; artist's col., see Lyons and Storr, pp. 1567). (Grove Art Online Accessed 2006-07-26)
Work Style Period:
Photorealist
work_styleperiod
Photorealist
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
elderly
subject
elderly
Work Subject
false
Work Subject:
portraits
subject
portraits
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
259.1 cm (H) x 213.4 cm (W)
Work Location (Repository or Site) name:
National Gallery of Art (U.S.)
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
1987.2.1
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Washington, D.C.
Image Rights (display):
© The National Gallery of Art, Washington, DC
Image Rights license agreement:
DAVIS ART IMAGES: This image is copyrighted by Davis or its sources and all interest in and to the Image and its copyrights throughout the World are retained by Davis or its sources. Your permission to use the Images is limited as provided below. You acknowledge and agree that your use of the Images, including all use by your faculty and students who are users, shall be strictly limited to educational purposes by means of display through classroom projection and closed network, for instruction and study solely by users who are staff, faculty and registered students of your educational institution at the locations specified below. This license includes permission to use the Images on a multi-user network at the defined locations, and to permit remote access to a computer/server located at your site. Simultaneous display in multiple locations at or connected to the defined locations also is permitted. For all of these uses, you willl use reasonable security measures designed to limit access accordingly (e.g. by requiring authenticated password entry or by using other reasonable security measures to limit access). Any open access use and any publication (including scholarly publication) of the Images for any purpose, is strictly prohibited. Any request for any such use, or any other use not expressly authorized in this Agreement, must be directed to Davis in writing. You shall inform all permitted users of the copyright status of the Images and the restrictions on their use set forth in this Agreement. Your specified locations of use are: 1. University of Colorado at Boulder; 2. University of Colorado at Denvcer and Health Sciences Center (inclusing the Metropolitan State College of Denver and the Community College of Denver which may have students on that downtown campus); 3. University of Colorado at Colorado Springs.
Work Rights (display):
unknown
Terms of Agreement and Conditions of Use:
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see